This chapter examines the ways in which the Black Panther Party (BPP) used popular music as a means to represent its ideology and politics to potential supporters during the peak of its activism in ...
More

This chapter examines the ways in which the Black Panther Party (BPP) used popular music as a means to represent its ideology and politics to potential supporters during the peak of its activism in the late 1960s and early 1970s. Following an initial discussion of the ways in which the traditions of the U.S. left and popular music impacted upon the BPP, it explores the idea of black nationalism as understood and represented by the Panthers, its relationship to the traditions of Marxism, and the ways in which this relationship informed the cultural practice of the BPP. Finally, there is an examination of the ‘three moments’ alluded to in the title, a series of musical performances and recordings sponsored by the party.Less

The Black Panther Party : Three Moments of Music

Eamonn Kelly

Published in print: 2013-04-25

This chapter examines the ways in which the Black Panther Party (BPP) used popular music as a means to represent its ideology and politics to potential supporters during the peak of its activism in the late 1960s and early 1970s. Following an initial discussion of the ways in which the traditions of the U.S. left and popular music impacted upon the BPP, it explores the idea of black nationalism as understood and represented by the Panthers, its relationship to the traditions of Marxism, and the ways in which this relationship informed the cultural practice of the BPP. Finally, there is an examination of the ‘three moments’ alluded to in the title, a series of musical performances and recordings sponsored by the party.

The final chapter considers African American performers of the rock and roll era who chose to sing “Ol’ Man River.” Several key black musical styles are represented: black pop vocal groups (the ...
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The final chapter considers African American performers of the rock and roll era who chose to sing “Ol’ Man River.” Several key black musical styles are represented: black pop vocal groups (the Flamingos, the Temptations, the Persuasions), jazz (Mae Barnes), blues (Abner Jay), comedy (Jackie “Moms” Mabley), gospel (the Caravans, Aretha Franklin), and soul (Ray Charles). Many of these artists emphasized political themes in the song, either by making changes to the lyrics, in their choices of musical arranging, or by way of pointed spoken introductions. The most extreme example of this practice is a full parody version titled “Old Pig Nixon” performed by the Lumpen, a singing cadre of the Black Panther Party. These performances all manage to critique “Ol’ Man River” while also keeping the song alive in America’s musical life.Less

Sons and Daughters of Joe

Todd Decker

Published in print: 2014-11-17

The final chapter considers African American performers of the rock and roll era who chose to sing “Ol’ Man River.” Several key black musical styles are represented: black pop vocal groups (the Flamingos, the Temptations, the Persuasions), jazz (Mae Barnes), blues (Abner Jay), comedy (Jackie “Moms” Mabley), gospel (the Caravans, Aretha Franklin), and soul (Ray Charles). Many of these artists emphasized political themes in the song, either by making changes to the lyrics, in their choices of musical arranging, or by way of pointed spoken introductions. The most extreme example of this practice is a full parody version titled “Old Pig Nixon” performed by the Lumpen, a singing cadre of the Black Panther Party. These performances all manage to critique “Ol’ Man River” while also keeping the song alive in America’s musical life.